Lisa Vroman is nursing a sore shoulder, but, she adds with her typical sunniness, at least she’s at home in Pasadena and sleeping in her own bed.

The red-headed soprano, who will open the Firehouse Arts Center Cabaret Series on Sept. 18 in Pleasanton, spent nearly a decade playing the role of Christine Daae in Andrew Lloyd Weber’s “The Phantom of the Opera.” She was in the show during its record-breaking five-years-plus run in San Francisco, for at least a year on Broadway and in various other locations when summoned by the Weber organization.

Doses of the daily punishment that come with playing the lead in a major-league Broadway show, as well as the pleasures in all the comforts of home, loom large in Vroman’s mind, as do the ravages of time.

“It’s not a joke that some things are easier when you’re in your 20s, and that it gets less so as time goes on,” says the singer called “one of American Musical Theater’s most beautiful voices” by mega-producer Cameron Mackintosh. “Bad things can happen if you fall or push a bag wrong or something.”

Yep, she likes the house in Pasadena, her dog, Romeo, and the man she married (Patrick O’Neil) just two years ago. But he’s a busy musician and composer, and Vroman is nowhere near going all domestic on a world where she is still in huge demand, where wonderful new music is being created daily, and where she has yet to play in at least a few musical comedies.

Vroman doesn’t seem all that interested in settling into a long run of a show right now. She’s doing a lot of concerts with symphonies: She just returned from the Reno Artfest where she sang with the symphony, she’s in the midst of a number of concerts with the Cleveland Symphony, and she did benefits in San Francisco and Southern California.

Vroman performed in some limited and concert runs of musicals, including playing Marian in “The Music Man” with Patrick Cassidy and Shirley Jones (who had the Marian role in the original film version of the show).

In January, she will play Anna in Rodgers and Hammerstein’s “The King and I” at the Virginia Lyric Opera. Later, she will perform in “Light in the Piazza” and continue her concert touring with performances in Taipei and Kuala Lumpur.

So she isn’t really slowing down, Vroman’s just “self-employed and taking care of my own retirement,” she says, joking.

She’ll complain about the “dumbing down” of some Broadway music, but in the same breath will praise the work of new composers. And there’s always that American Songbook and the near-endless array of Broadway and classical music. And she’s at no loss for work.

Hal Prince asked Vroman to come back and do a show — “the first time I ever said, no, to him.”

“I’ve been asked to come back (to ‘Phantom’) as Carlotta (the opera diva), but I feel like I’ve been there and done that,” she says. “My voice still feels great and I’m able to do things on my own terms. I can sing. I’m home now. I got married; I still feel very lucky, we met at the right time. I’m pretty content.”

Vroman performs at the Firehouse Arts Center, 4444 Railroad Ave., at 2 p.m. Sept. 18. Tickets, at $12-$27, may be reserved at 925-931-4848 or www.firehousearts.org.

MOURNING BECOMES ELECTRA: The 1931 Eugene O’Neill play opens Sept. 16 as the City of Danville prepares its festival to celebrate its most famous resident, who wrote many of his most well-known works at Tao House.

“Mourning” was written earlier in the playwright’s career, but it contains some of the themes seen in later works, particularly the sins of the fathers being visited on future generations. It is based on the Greek drama “The Oresteia,” but here it is set in New England at the end of the Civil War and looks at the troubles of the Mannon Family.

The Role Players Ensemble show runs Thursdays-Sundays through Oct. 1 in the Village Theatre, 233 Front St., Danville. Tickets, at $25-$30, may be reserved at 925-314-3400 or www.danvilletheatre.com.

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